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The House in Laurel 
Lane 

A Comedy in Two Acts 

For Female Characters Only 

By 
GLADYS RUTH BRIDGHAM 

Author of "Line Busy," "Five Feet of Love," "I Grant Yoit 

Three IVtshes," "■Lucinda Speaks," "The Hurdy-Gurdy Girl," 

"Step Lively" "Honeymoon Flats," "The Thirteenth Star," 

"Captain Cranberry," " Behind the Scenes," "At the Sign 

of the Shooting Star," "The Girl frotn Upper '^ Ranch," 

"L^ave it to Polly," "A Regular Scream," "Aot on 

the Proe;ramme," "A Modern Cinderella," "On the 

Quiet]" "A Regular Rah I Rah I Boy," "Sally 

Lu7t7i," "Six limes Nirie," "Cupid's Partner," 

"Her First Assigitment ," "A Case for Sherlock 

Holmes,' ' " Ring-Around-aRosie, " " 7hree 

of a Kind," " The Turn in the Road," "The 

Queen of Hearts," etc. 

NOTE 

The professional and moving picture rights in this play are 
strictly reserved and application for the right to produce it 
should be made to the author in care of the publishers. 
Amateurs may produce it without payment of royalty on 
condition that the name of the author appears on all pro- 
grammes and advertising issued in connection with such 
performances. 



BuSTON 

WALTER H. BAKER & CO. 

1920 



^^^: 



The House in Laurel Lane 



CHARACTERS 



Josephine Arnold 
Irene Humphries > rf : . 

Claudia VVainwright ( J"*'""^^' 
Marguerite Hastings 

AnICE WaINWRIGHT ) c- j,!^ ,^^^, 

WiLiFRED BLAKE ^ophomores. 



SYNOPSIS 

Act I. — Josephine and Irene's room — Lake View Seminary* 
An afternoon in May. 
Act II. — The house in Laurel Lane — evening of the same day. 




Copyright, 1919, by Gladys Ruth Bridgham 

Free for amateur fietformance. Professional 

■ and moving picture rights reserved. 



OEC 22 1919 



The House in Laurel Lane 



ACT I 

AFTERNOON 

SCENE. — Irene and Josephine's room. Exits r. and c. 
Study table with i-eading lamp, books, papers, etc., r. 
front. Couch zuith pilloius left of c. exit; a tea-table, 
chairs, college flags on the zvalls and the fancy things 
that make the schoolgirls' room attractive. 

(As curtain rises Josephine Arnold sits back of table 
considting a slip of paper on the table before her; 
Irene Humphries zvalks slozuly dozim the room; she 
holds a slip of paper in her hand.) 

Josephine. Can you remember ? 

Irene. I think so. 

Jos. You must know so. 

Irene (glances at the slip of paper in her hand; then 
lets her hand drop to her side). Try again ! 

Jos. (considting paper on table). If I sit quietly a1 
this table? 

Irene. Talk quietly about Claudia in a sorrowful 
manner. 

Jos. But if I get up and walk around ? 

Irene. Get excited. 

Jos. If I stand in front of desk? 

Irene. Strong on school spirit. 

(Marguerite Hastings comes to door, c. ; looks in.) 

Jos. If I push a chair over? 

Irene. Strong on family and cousinly duty. 

3 



4 THE HOUSE IN LAUREL LANE 

Marguerite (coming forward). What in the world 
are you girls talking about ? 

Irene. We are getting ready for Anice. 

Mar. You have sent for her ? 

Jos. Yes. 

Mar. You are really going on with this? 

Jos. Sure! 

Irene. We have arranged a series of signals. 

Jos. It's going to be a delicate thing to handle, 
and 

Mar. (interrupting). I should say as much! 

Jos. We are afraid of bungling things, so I am going 
to do the thinking 

Irene. And I the talking. If I get off the track and 
don't seem to be getting the desired results, Joe will flash 
me a signal and I will change my line of conversation. 

Mar. I take off my hat to you, Joe. You can think 
up the cleverest things of any girl I ever met, but I think 
you are going rather far this time. 

Jos. Why? We are doing our duty, aren't we? 

Mar. In a way, I suppose, but I would rather you 
would be the one to do it. I don't like to mix in family 
affairs. 

Irene. All the more interesting. 

Mar. Hope you will find it so. 

Jos. You are not going back on us, Rita ? 

Mar. You know very well I am not. I'll stand by 
you, but 

(Wilifred Blake comes to door, c.) 

Wilifred. Pardon me. 

Jos. Come in, Miss Blake. 

WiL. (steps into room). I gave Anice your message. 
She had to carry a theme down to Miss Lindsey's office. 
Then she will come directly over here. 

Jos. Thank you very much. 

WiL. You are quite w^elcome. Miss Arnold. 

( Withdrazvs. ) 
Mar. (looks worried). Girls, do you really believe 



THE HOUSE IN LAUREL LANE 5 

you had better do this? Hadn't we better find some 
other way? Do you believe it is safe? 

Jos. and Irene (toyether). Safe? 

Mar. Anice is so impulsive. If she goes to Claudia's 
rescue 

Irene. If she goes? Isn't that just what we want her 
to do? 

Mar. Nobody knows just how she will go about it or 
how far she will go. 

Jos. Well, Rita, go as far as she will, there couldn't 
be any danger. 

Irene (scornfully). Of course not! I never heard 
anything so foolish. 

Mar. (impatiently). Oh, all right! Go ahead! 

Jos. (stiffly). We intend to. 

Irene. Oh, be a good sport, Rita, for goodness' sake ! 

Mar. (suddenly changing her manner). Very well. 
I'll be with you to the finish. Do you mind if I have the 
benefit of the coming seance? 

Irene. Not at all. (Points r.) Yonder room is at 
your disposal, fair lady. 

Mar. Thanks. I will not interfere with your re- 
hearsal. (Takes a hook from the table.) Lend me your 
Latin. I will improve my time while I wait. [Exit, R. 

Irene (in a lozv tone). No help from Rita. 

Jos. We don't need any. We will carry this through 
ourselves. 

(Claudia Wainwright enters c, followed by Anice 
Wainwright.) 

Claudia. Look who I found on the way ! Litde 
cousin ! 

Anice. You sent for me, Miss Arnold? 

Jos. Yes, I did, Anice. Sit down, Claudia ! 

Claud. Couldn't think of it, my dear! I have forty 
things to do in that many minutes. 

Irene. But you are on the committee for the Junior- 
Sophomore night, and you haven't made one suggestion 
about the affair yet. 

Claud. There's lots of time. 



6 THE HOUSE IN LAUREL LANE 

Jos. There is not. We have appointed the sophomore 
committee and we have made Anice chairman. 

Anice {delighted). Really? 

Claud. You have my miqualified approval. Bless 
}'0U, my children. 

Irene. That won't do. Will you attend a committee 
meeting to-night ? 

Claud. Impossible ! 

Jos. Why is it? 

Claud. I have an engagement. 

Irene. It will have to be a pretty important one to let 
you off this time. 

Claud. It is important — very. I can't go into details 
but I couldn't possibly break it. {Suddenly changing the 
subject.) Girls! I have a Harvard junior coming on 
for the prom. Who wants a dance? 

Jos. I admire your nerve. 

Claud. Oh, pardon me ! Who will be kind enough 
to dance with him? 

Jos. {smiling). I might be able to squeeze out a dance 
for your friend. 

Claud. So sweet of you! x\nd you, love? 

{Turns to Irene.) 

Irene. Of course, you understand that it will be a ter- 
rible bore 

Claud. Certainly, but out of the goodness of your 
heart you will take pity on this poor young man 

Irene {interrupting). That's it exactly, and if it will 
really please you I might be able to make it two dances 
instead of one. 

Claud. Spoken like the noble child that you are ! 

{Starts for door, c.) 

Irene. Now don't go running off until you answer 
one or two questions at least. 
Claud. See you later, love ! 

{Throivs her a kiss and runs out c.) 



THE HOUSE IN LAUREL LANE 7 

Jos Hopeless ! We might as well go on with the 
arrangements without her. Do sit down, Anice. 

(Sits back of fable facing Irene.) 

Irene (quickly). Yes, do! We have something to 
tell you. 

(Anice takes a chair c. ; Irene down l.) 

Jos. And we hardly know how to begin. 

Irene. Have — have you noticed anything odd about 
your cousin? 

Anice. About Claudia ? Why, no. I don't think so, 

Irene (glances nervously at Jos. and is at a loss as to 
what to say). Are you sure? 

Anice. Yes, quite sure ! She seems just the same as 
usual to me. You really see more of her than I do. 

Jos. Yes, I suppose we do. (Gives Irene a look.) 

Irene (pulling herself together for an effort). We 
have sent for you, Anice, because we are very much 
worried about Claudia and we don't know what to do. 

Anice (surprised). Worried? Why? Is she ill? 

Irene. No, not ill. That is physically. 

Anice (puszled). Physically? (Suddenly.) You 
can't mean anything is the matter mentally. What d( 
you mean? 

Irene. Did you ever hear Claudia express her views 
on socialism? 

Anice (astonished). Good gracious, no! 

Irene. Your class didn't hear that lecture by Pro- 
fessor Orandaulf ? 

Anice. No. 

Jos. (rises abruptly and walks about room). It's a 
pity you hadn't. 

Irene (looks at Jos. for a second and then leans for- 
ward and becomes excited as she talks). It would be 
easier to make you understand. He spoke for and 
against socialism. He gave both sides. He was very 
fascinating. He actually hypnotized Claudia and one or 
two other girls. We believe he was here for a purpose. 



6 THE HOUSE IN LAUREL LANE 

An ICE. Please don't talk blindly. Tell me what you 
are driving at. 

Irene. How much do you know about socialists? 

Anice. Why, not much. They are awful bomb- 
throwing people. Reds, they call them. 

Irene. I suppose it would be hard to make you believe 
that perfectly nice people could get interested in them. 

Anice. Perfectly nice, perhaps — also perfectly insane. 

Jos. {sits by table again). You call your cousin in- 
sane ? 

Anice. I certainly should if she was interested in any- 
thing so wild, but it's no use telling me that Claudia 
Wain wright -cares for anything but dances and — and — 
Harvard juniors. What's the joke? 

Irene (taking cue from Jos., speaks quietly and seri- 
ously). It is no joke, Anice. We were never more 
serious in our lives than we are now. How do you sup- 
pose it happens that Claudia has so many engagements 
that she doesn't care to tell about? Like to-night, for 
instance. 

Anice. Well, I suppose she doesn't have to tell every 
place she goes. 

Irene. No, she doesn't, but haven't you noticed that 
the girls usually do? {AtiiCE is silent.) Haven't you? 

■ Anice {impatiently). Well, yes, I suppose so, but 

{Stops abruptly.) Oh, what in the world is it you mean? 
Where does she go? Why don't you talk to herf 

Jos. {rising and pushing a chair one side). How can 
we talk to her? 

Irene {struggling to remember the cue). Er— yes, — 
how can we? {Remembers suddenly.) You are her 
cousin, a member of her family. Would you want to 
go on with something that is likely to lead to serious 
results ? 

Anice. Of course not, but it's too absurd! {Turns 
to Jos.) Why, I could imagine you, Miss Arnold, know- 
ing something about the subject, but not Claudia. 

Jos. {seriovisly) . You never can tell. 

Anice. Why, you both look and act as if this was a 
matter of life and death. 



THE HOUSE IN LAUREL LANE 9 

Irene. ' Sometimes it is. 

Anice. What perfect nonsense ! 

Irene. You wouldn't say that if you knew more about 
these people. Professor Orandaulf came here purposely 
to win over some of the girls. 

Anice {shaking her head). I'm from Missouri, IMiss 
Humphries. 

Irene. Well, you will be shown all right if you let 
Claudia go on. 

Anice. If I let her go on? Supposing there is any- 
thing to what you say, do you think she would listen to 
me? It would do ten times the good for you or Miss 
Arnold to talk to her. 

Jos. (rising again and moving chair). We don't think 
so. Claudia is hard to handle. 

Anice. You are right she is. 

Irene. This would be an affair for her family, not for 
outsiders. 

Jos. (stands in front of table). She would very po- 
litely tell me to mind my own business. I'm sure of that. 

Irene. If you don't get the family point of view, 
Anice, you surely have school spirit enough to save one 
of the girls from a thing like this. 

Anice. If I believed in what you are saying I 

might (Stops abruptly.) If this isn't a joke of 

^ome kind, tell me how much you really know and how 
much you are guessing at. 

Irene. We know that an organization of Reds has a 
meeting place somewhere around here, and we know that 
Claudia goes to the meetings. 

Anice. It isn't possible — not in this country. A girl 
like Claudia. 

Irene. Haven't you ever read in the papers where 
society girls and college boys have been arrested for hav- 
ing a part in their plots? 

Anice. Plots for what? College theatricals? 

Jos. (zvith a gesture of despair). Well, of course, if 
we can't make you believe this is really so, I don't know 
what we can do. 

Anice. It's hard to believe that you are really serious, 



10 THE HOUSE IN LAUREL LANE 

but supposing you are, what is it to me ? Claudia is older 
than I am, and I don't see why I should be called upon to 
interfere in her affairs. You mean all right and I thank 
you for telling me, but I feel positive that you have made 
a mistake. {Takes a book from table.) Good-bye. 
[Exit, c, leaving Jos. and Irene staring at each other. 

Jos. Well, what do you know about that ? 

Irene. Did you ever? 

Mar. {appearing at door, r.). Stung? 

Jos. Looks like it ! Why don't you go right on and 
say " I told you so " ? You have my permission. 

Mar. {zvalking into room). I don't see that I have the 
chance. This wasn't what I predicted. Frankly, I'm 
r.urprised. I thought Anice would be hard to convince, 
but once convinced I didn't think she would dodge her 
duty. 

Irene. Convinced? She wasn't convinced. I guess 
you didn't hear very well. She didn't believe us, and 
said even if she did that it wasn't any of her business. 
That Claudia was old enough to look out for herself. 

Mar. {looks thonghtfuUy front Jos. to Irene). Oh ! 

Jos. Come on down street ! I have some errands to 
do and I'm cross and disgusted. The air will be good 
for me. 

Irene {taking up a szveater). All right. 

Mar. May I stay here and study? Lucille has a 
committee meeting in our room and you can't hear your- 
self think. 

Irene. Sure ! 

Jos. Make yourself at home. 

Mar. {sitting by table). Thanks. 

Irene. All ready, Joe? 

Jos. Yes. (Irene exits, c. ; Jos. starts to follozv; 
turns back.) It's mighty good of you, Rita, not to laugh 
at us. 

Mar. I haven't seen anything to laugh at. 

Jos. Almost any other girl would. [Exit, C. 

(Mar. sits quite still for a second, suddenly opens her 
book, takes out o red cord, reaches for a pen, writes 



THE HOUSE IN LAUREL LANE II 

on card, reads what she has written, looks about 
thoughtfidly ; suddenly picks up a hook on table.) 

Mar. {with an exclamation of delight), Anice's Geom- 
etry ! 

(Opens Anice's book; slips card in with edge showing.) 

Anice (outside). Miss Arnold! (Mar. places book 
on table in conspicuous place; exits, R. ; Anice enters, c.) 
Miss Arnold, I 

(Stops abruptly; looks about surprised; walks slowly 
dozvn R. WiL. knocks at door, c. Anice turns to- 
ivard door as Wil. enters.) 

WiL. Oh, is it you, Anice ? Are you here alone ? 

Anice. Yes. I just came back for my Geometry. I 
carried off Claudia's by mistake. (Places book on table; 
takes up her own book.) This is mine. 

Wil. I thought your cousin was here. 

Anice. She was here. She came up when I did, but 
she didn't stay. 

WiL. I wonder where she is. I have a message for 
her. 

Anice (quickly). You have? (Suddenly and deter- 
minedly.) What is the message? 

Wil. (surprised). Why, Anice! 

Anice. Oh, I know what you think — that it is nothing 
that concerns me. It does concern me. What is the 
message? 

WiL. (astonished at Anice's manner). Why, it can't 
concern you, Anice, but I don't see that it can do any 
harm to tell you what it is. Goodness knows it's vague 
enough. You know Jimmy Bean? 

Anice. Who works at the corner drug store? 

Wil. Yes. He asked me if I knew Miss Claudia 
Wainwright. I told him yes. He said he couldn't find 
her and asked me to give her a message. 

Anice (eagerly). Yes! 

Wil. No need of getting excited. The message was 
6-5-4-8-0. 



12 THE HOUSli IN LAUREL LANE 

Anice. Is that all? 

WiL. Absolutely. 

Anice. A telephone number? 

WiL. Certainly sounds like it. 

Anice. No exchange? 

WiL. No. 

Anice. Then we can't trace it. 

WiL. Well, Anice Wainwright ! I must say 

Anice. Oh, I know you think it's strange and I can't 
explain. 

WiL. Anice, what is the matter? 

Anice (sitting by table). It's no use to ask me. 

WiL. (going to her). You are in trouble and you are 
just going to tell me. 

Anice. No, I can't. Don't ask me. It concerns 
some one else. (Red card drops from her book to floor; 
WiL. picks it up and hands it to her.) What is it? 

WiL. It dropped from your book. 

Anice (surprised; takes the card). Dropped from 
this book? 

WiL. Yes, just now. 

Anice. That's strange. It isn't mine, and what's 
more, it must have been put in that book since I left it on 
the table here, for I was hunting for a slip of paper and 
I turned that book inside out looking for it. 

WiL. You had your cousin's book. Perhaps some 
one thought that one was hers. 

Anice (with a gasp). The red card! That's just 
what they thought ! Oh, what am I going to do ? Claudia 
is the family pride ! 

WiL. What do you mean ? Are you crazy? 

Anice (examines the card). Wil, does it look to you 
as if there was something written on this? 

Wil. (takes the card). It's hard to tell on that red. 
Yes, there is ! Something printed. 

Anice (springs to her feet). What? 

Wil. The light isn't good. (Goes to door, c.) Try 
it here. A figure six and — T-h-e — the — house — i-n — in 
L-a-u-r-e-1 Lane. The house in Laurel Lane. Have you 
any idea what that means ? 



THE HOUSE IN LAUREL LANE I3 

Anice (slozvly). I believe I have. I'm not sure about 
the six unless it means the sixth house. 

WiL. (suddenly). There was a six in the telephone 
number. 

Anice (quickly). That's right. What was that num- 
ber ? 

WiL. 6-5-4-8-0. 

Anice (slowly). If the six in the number corresponds 
to ih-s card? What can the rest be? 5-4-8-0. (With 
a sudden cry. ) It's the time and date. May 4 — 8 o'clock. 
It's to-night ! That's the meeting place ! That is where 
she is going ! 

WiL. (astonished). What in the world do you mean? 

Anice. I wonder if I dare ! 

WiL. (shaking her). Dare to what? Anice Wain- 
wright, you are driving me crazy ! 

Anice. Will you come with me to-night to the house 
in Laurel Lane? 

WiL. What for? What house? 

Anice. I don't know what house. (Thought f idly.) 
There doesn't sedm to be anything to indicate the house. 
Of course they know. 

WiL.- (exasperated; at the top of her voice). Who 
knows ? 

Anice. Do you think there are any foreigners living 
in Laurel Lane? 

WiL. Foreigners? I don't believe so. There are 
only a few cottages, you know, and that old Colonial 
house that is closed up ! 

Anice. That's the place! Don't you see? It's the 
only house. The rest are cottages. 

WiL. (sarcastically) . Oh, yes, I see everything very 
clearly. 

Anice (seriously). Will you go with me to-night, 
Wil, to this house? I don't like to go alone. I can't tell 
you why we are going or what will happen when we get 
there, but if Claudia is going there I mu^t go, too. 

Wil. Well, this beats any mystery story I've read yet, 
but if you are in trouble, Anice, I'm game, no matter 
where you want to go. 



14 THE HOUSE IN LAUREL LANE 

Anice (throws her arms around Wil.). Wil, you're 
a dear ! You always are ! 

Wil. H'm ! Maybe ! I'm not so very brave. If you 
think there's ghosts or anything over there you had better 
take the smelHng sahs along. 

Anice {pi4ts the red card in Claud.'s hook). Will 
you find Claudia and give her this book? Be sure the 
red card is sticking out, and give her Jimmy Bean's 
message. 

Wil. Sure! {Takes the hook.) That's easy. Are 
you coming? 

Anice. Yes. I'll go up to my room. I've a lot to 
think over before night. 

{They exeunt, c. Mar. enters, r. ; goes cautiously to 
door and looks after them, turns and walks down R. 
Jos. and Irene enter, c.) 

Mar. {very much excited). Girls, she came back! 

Irene and Jos. {together). Who? 

Mar. Anice. She did believe you. I laid a trap for 
her. It didn't work just as I thought it was going to, but 
it came around all right, and girls, she is going ! 

Jos. Going? When? Where? What are you talking 
about ? 

Mar. Anice. She is going to-night to the house in 
Laurel Lane I 



CURTAIN 



ACT TI 

EVENING 

SCENE.— i?oo;;; in the house in Laurel Lane. Large 
sliding or folding doors c. Exit l. and one R., sup- 
posed to be entrance to house. Window r. c. ; old- 
fashioned sofa L. c. ; stuffed chairs of an ancient date; 
circidar table c, with red cover and an oil lamp; stage 
shoidd he dimly lighted; on stage where it is possible 
moonlight effect through zvindow woidd be best. There 
is a lighted candle on table. 

(Jos. and Mar. stand l. and r. of windozv; Irene kneels 
by windozv looking cautiously out; Jos. is dressed 
and made up as an old lady; Mar. and Irene wear 
black zvigs and are dressed as foreigners.) 

Irene. Here they come ! 
Mar. Quick ! 

{They leave zvindozv; Irene takes candle from table.) 

Jos. {tries doors c). These doors are bolted? 
Mar. Yes. Everything is locked ! 
Irene. I wonder what they will do. 

{They cross to door, l., and stand in a group in door- 
zuay; there is a slight pause; bdl at door, r., rings; 
pause; knock at door.) 

WiL. {outside). Nobody home ! 

Anice {outside). We will see if we can find a win- 
dow that is unlocked. 

Tos. {excited). Anice is going to try a window. 

Irene. Good for her ! She is game, all right. 

Mar. We had better go up-stairs. They may come 
around this side. 

Jos. That's right ! 

IS 



l6 THE HOUSE IN LAUREL LANE 

{They withdrazv; Anice appears at window; on stage 
where window is not possible, Anice and Wil. may 
be heard talking out l. and make their entrance l.) 

Anici: (opens zuiudow). All right! This one is un- 
locked. Give me a push ! Then I'll pull you up. 

Wil. All ready now — one — two— three ! 

Anice {climbs in zvindozv). All right. Now give me 
your hands. {Leans out and helps Wil. in.) 

VvTl. Agile as monkeys. I always knew we belonged 
in a zoo. Where do we go from here? 

Anice. This isn't a joke, Billy. 

Wil. You refuse to tell me what it is, so it may as 
well be one for me. 

Anice {looking about). I'm so glad we got here first. 

Wil. Yes, it ought to bring us reserved seats at least. 

Anice {looking at door, r.). That's Xht outside door. 
{Tries door c.) These doors are bolted. {Opens door 
l. cautiously and looks out.) And that's the hall and 
stairway. 

Wil. This would be a swell place for a murder. 

Anice {with a stifled cry). Billy! 

Wil. It's a house with green shutters and we are at 
the foot of a circular staircase and behind the bolted 
doors ! 

Anice. For goodness' sake, don't get me nervous! I 
must keep my nerve above all things. 

Wil. Anice, you really ought to tell me something. 
It's ridiculous to keep me absolutely in the dark. 

Anice. Well, I'm going to watch for Claudia. If she 
comes to this house I must know why, whom she comes 
to see and what is going on. If what I have heard about 
Claudia is true she must be saved. I want you to remain 
in hiding. I will if I can. 

Wil. You don't know who will be likely to be here 
besides Claudia? 

Anice. No. 

Wil. What are you going to say if you meet any one? 

Anice. I asked old Bill, the gardener, this afternoon 
if any one lived here. He said he didn't think so now, 
but a short time ago an old lady, a fortune-teller, lived 



THE HOUSJi IN LAUREL LANE I7 

here. If I meet any one I'll tell them I have come to have 
my fortune told. 

WiL. You aren't absolutely sure that we are in the 
right house. 

Anice. Yes, I am. I have a feeling that this is the 
place. 

WiL. Well, have you some other kind of a feeling as 
to where we are going to hide ? 

Anice. I don't know. Probably in this room first if 
possible. (Goes to door, L.) This is where people enter. 

WiL. (zuith a chuckle). I noticed it wasn't where we 
entered. How do you expect Claudia is going to get in 
if there is nobody home? 

Anice. Very likely she has a key if she is in the habit 
of coming here. Or she might come with some one who 
has a key. Of — or 

WiL. Or she might use an aeroplane and land on the 
roof and come down the chimney, or she might use a sub- 
marine and come up through the sink spout — or 

Anice. Billy, will you be serious? 

WiL. I simply can't. This is bound to be a joke until 
you prove it something else. 

Anice (taking hold of sofa). Let's pull this out. We 
can hide behind it, I think. (Wil. helps her.) Not too 
far! 

Wil. Oh, don't worry. They won't be looking for 
visitors. (Bell at door, r., rings three quick, short rings 
and two long, loud ones. ) Have a heart ! 

Anice (under her breath). Claudia! A signal ring! 

Wil. Must be some one in the house. 

Anice (runs back of sofa). Quick! 

(Wil. follows. Irene opens door, l., cautiously, looks 
into room, enters, looks about room, discovers that 
sofa is moved out, laughs softly, crosses to door, r., 
opens it; Claud, enters.) 

Irene. You come? (Closes door and locks it.) 
Claud. Certainly I have come. Do I ever fail to an- 
swer the summons? 
Irene. Na. 



l8 THE HOUSE IN LAURliL LANE 

Claud. Any one else here? 

Irene. Magrita and Francesca. 

Claud. Tell them I am here. 

Irene. Ya. {^Starts to exit, l.) 

Claud. Any objection to a light here? 

Irene (looking back). Na. [Exit, l. 

(Claud, lights lamp on table, removes her coat and 
gloves; Jos. enters, l. ; she walks with a cane and 
speaks in a soft, slow voice. ) 

Jos. Good-evening, Miss Wainwright, 
Claud. Good-evening, Magrita. 
Jos. Sit down. 

{Sits at R. of center table; glances toivards sofa; 
Claud, hesitates for a second; sits at l. of table.) 

Claud. What do yoti want of me? 

Jos. Do you call that a polite way to speak, Miss 
Wainwright? 

Claud. A lot you care about how I speak. What is 
it you want me to do ? 

Jos. My dear young lady ! 

Claud. Come to the point, please! 

Jos. I wonder if you realize how fully you are one of 
us? 

Claud. I am beginning to. 

Jos. And what would happen if you betrayed our 
cause ? 

Claud. I am a very good guesser. 

Jos. No guesswork ! 

Claud. Well, then, I know. A whole lot better than 
I wish I did. 

Jos. What do you mean ? You regret 

Claud. Nothing as yet. I am interested in what you 
want me to do. I am with the Reds heart and soul. I'm 
not in favor of some of the things you do. I believe I 
have told you that before. 

Jos. You have. And I believe we have also told you 
that when your turn came — what? 

Claud. I would have to go on. Well, I haven't re- 
fused, have I? Tell me what you want of me. 



THE HOUSE IN LAUREL LANE l9 

Jos. {takes a piece of paper and ivrites a few words on 
it; passes it to Claud.). Read! 

Claud, (reads paper; suddenly jumps to her feet; gives 
a stifled scream) . Oh ! 

Jos. Sit down! 

(Claud, drops hack into chair.) 

Claud. Not that, Magrita I 

Jos. You refuse? 

Claud. I don't say that I do, but this isn't the regular 
thing. You should draw lots. 

Jos. That is for us to decide. 

Claud. I will do my duty, but I will not let you put a 
thing like this over on me. 

Jos. You defy us? 

Claud. I will not be fooled. I know we should draw 
lots for a thing like this. 

]q&. How do you know we haven't? 

Claud. I wasn't present. 

Jos. You insinuate 

Claud. Nothing at all, I merely claim a right to 
draw my own lot. 

Jos. {rising abruptly). Come up-stairs ! 

Claud. The others are here? 

Jos. They are. 

Claud. Nita said only Magrita and Franceses. I 
knew you were not playing fair. 

Jos. {impatiently) . You will come? 

Claud. Sure I will. I'm not afraid of any, or of all 
of you. [They exeunt, l. 

(Anice comes from behind sofa.) 

Wil. {following cautiously). Have they gone? 
Anice. Yes. 

{Goes to door, l., opens it softly and looks out.) 

Wil. What in the world 

Anice. Oh, isn't it terrible? It is really true. 
Wil. What is? What on earth is going on? What 
were they driving at? 



20 THE HOUSE IN LAUREL LANE 

Anice. Didn't you understand? 

WiL. Well, not so you'd notice it. 

Anice. I thought you would guess. They are Reds. 

WiL. {puzzled). Reds? (Suddenly.) Goodness 
gracious! You don't mean socialists? 

Anice. Yes. You know that awful old man that 
lectured? That was what he came for. To pull the 
girls in if he could find any who would be interested in 
him and his cause. 

WiL. {astonished). And Claudia — Claudia Wain- 
wright — is — is — crazy enough to — to {Hesitates.) 

Anice. Yes, she is ! 

WiL. {staggered). Well, words fail me! 

Anice. And you see how it is. They are forcing her 
to do some awful thing. 

WiL. Looks that way. Say, Anice, this is a matter 
for the police. We can't handle it. 

Anice. But, Billy, don't you see, I can't noti% the 
police without bringing Claudia into it? I must get her 
out some way. 

WiL. {slowly). That's right, but how are you going 
to do it without the others raising a rumpus? Why, 
Anice, it's an awful mess! {Beginning to grow nervous.) 
The more you think about it the worse it grows. It's — it's 
overpowering. 

Anice. It surely is. Will you watch her while I try 
going up-stairs ? I want to find out what they are trying 
to make Claudia do. 

WiL. My goodness, Anice, your nerve is all with you. 

Anice. It needs to be. I hope you are convinced this 
isn't a joke. 

WiL. Absolutely, and how on earth you can be so 
cool ! My heart has come up in my mouth if any one 
should ask you. I told you I wasn't very courageous. 
Why didn't you invite some other girl to your party? 

Anice. I had rather have you. 

WiL. I wouldn't have felt a bit slighted if you had 
left me out. My land ! I have read things like this in 
the papers and seen them in the movies but I'm blessed 
if I ever yearned to have a part. 



THE HOUSE IN LAUREL LANE 21 

Anice. You are all right, Billy. You'll stand by me 
to the end, no matter what it is. I couldn't say the 
same of any other girl I know. 

WiL. Oh, Anice, this is no time for sentiment. My 
feet are beginning to chatter on the floor, 

Anice. There really isn't much danger, Billy. They 
won't dare to harm us. If we find out what they are up 
to we will have them in our power. I thought it all out 
this afternoon. 

WiL. Well, you are a wonder ! (Claud, gives a pierc- 
ing scream outside; both girls stand still listening.) 
Anice, for the love of heaven ! 

Anice. That sounded like Claudia ! I'm going up- 
stairs ! (Starts for door, l. ) 

WiL. For the love of Pete, don't stay too long! My 
nerve is oozing out through my very finger tips. (Anice 
exits, L. WiL. stands listening for a second; sits down 
by table.) Good-night! (She looks fearfidly around 
the room; looks towards door; listens; leans forward on 
table; hand comes in contact with slip of paper which 
Jos. handed to Claud.; picks it up; reads it.) Why 
what? (Reads it again.) Well, wouldn't that jar the 
walnuts on a chocolate college ice ! 

(She stands thinking for a second; suddenly goes to 
door, R. ; opens it; exits, leaving it slightly open. 
Irene enters, l. She looks about room; glances 
under sofa; goes to door, l.) 

Irene. They are not either of them here. 
Enter Mar., l. 

Mar. Anice went up-stairs alone. 

Irene. I wonder what has become of Billy. 

Mar. I can't imagine. She certainly wasn't in the 
hall. 

Irene. Aren't they just playing up to us? 

Mar. I should say they were ! Their nerve is cer- 
tainly all with them. 

Irene. We must try to locate Billy. Joe will be 
calling us down for not staying on duty. 



22 THE HOUSE IN LAUREL LANE 

{They exeunt, l. ; slight pause; Anice enters, l.) 

Anice (softly). Billy! Billy! 

(Looks about room and under sofa; goes back to door, 
L. ; starts to open it; jumps back and stands back of 
door as Jos. opens it and enters; she tries to slip out 
of room but Jos. turns and sees her.) 

Jos. Well, young lady ! What were you doing behind 
that door? 

Anice (boldly). Hiding. 

Jos. Very evident. And why, if I may ask? 

Anice. Well, I wanted to see without being seen. I 
wasn't sure who was in the house. 

Jos. Are you in the habit of entering houses without 
being asked? 

Anice. I rang the bell and knocked and no one an- 
swered. I thought perhaps people who came here were 
supposed to walk right in. 

Jos. I don't understand. 

Anice. I never went anywhere on the same kind of 
an errand before. 

Jos. What have you come for? 

Anice. To have my fortune told. 

Jos. Indeed? By whom? 

Anice. Why, you, I suppose. I was told a fortune- 
teller lived here. 

Jos. Very well. Sit down. (She sits at tabic; 
Anice sits opposite. ) Let me see your hand, H'm I 
Long life — early marriage — long voyages. You are 
naturally brave — loyal to your friends. You think 
strongly of duty but — but — you — you — young woman — 
(suddenly leans across table and holds Anice by the 
wrist) — you lied to me. You didn't come here to have 
your fortune told. What did you come for? 

Anice. Let go of my wrist ! 

Jos. (calling). Francesca! Nita! 

Enter Irene and Mar., l. 

Anice (struggling with Jos.). Let me go, I say! 
What do you think you are doing? 



THE HOUSE IN LAUREL LANE 2^ 

Mar. What is the trouble? 

(Irene goes to the other side of Anice; Anice stops 
struggling. ) 

Jos. This young woman ! She pretends she came to 
have her fortune told. It is not so. 

Irene. Spy ? 

Jos. I believe so. 

Mar. What shall we do with her? 

Jos. {to Anice). You see? There are many of us 
here? You cannot go unless we say the word. Who 
are you? Why did you come? Who sent you? 

Anice. I am Anice Wainwright from the Seminary. 
No one sent me. I came of my own volition. 

Jos. What did you come for? 

Anice. I told you. To have my fortune told. 

Mar. If that is the case why did you bring another 
with you? 

Anice. If I brought another, where is she? 

Jos. {giving her a pull tozvards the door). In the 
place where we are going to take you. 

Anice. I warn you to let me go unless you want the 
whole village after you. 

Jos. Bring her along! (Jos. and Irene pull her to- 
wards door, L. Anice gives a sudden scream and pre- 
tends to faint.) Look out! 

Irene. Good heaven ! She has fainted ! 

{Holds Anice in her arms.) 
Jos. Let her down easy ! 

{They place Anice on the sofa.) 

Mar. {indignantly). No wonder! Any girl would 
faint ! It's ridiculous ! I told you this thing was going 
too far! 

Jos. Get some water. 

(Irene starts for door; hell rings three — then two.) 
Mar. ( startled ) . Who's that ? 



24 THE HOUSE IN LAUREL LANE 

Irene {turning hack). It can't be any of our girls. 
Jos. Every one is here. 
Mar. Shall I answer? 

Enter Wil. 

Jos. Well, what do you want, young woman ? {Turns 
to Irene.) Nita, how does it happen that door is open? 

Irene {uncertainly ;. stepping towards door). I diiin . 
I lock it 

VViL. It won't do you any good now, my friend. The 
house is surrounded. 

All. Surrounded ? 

WiL. Yes. The town constable ! The gardener from 
the Seminary! The clerk from the hotel! The night 
watchman from the bank ! 

Irene. Merciful heaven ! 

Wil. {suddenly catching sight of Anice on sofa). Oh, 
what has happened? What is the matter with Anice? 

Mar. {firmly). It is time this thing came to an end. 

Anice {suddenly sitting up straight). Yes, that's 
what I think. 

Irene. Good gracious ! She hasn't fainted at all. 

Anice. No, I was just gaining time. 

Jos. Well, if you aren't the limit! 

Anice. I have recognized your voices, Miss Arnold — 
Miss Humphries — Miss Hastings. What on earth does 
this mean? 

Jos. {to Wil.). Is it true you have this house sur- 
rounded ? 

Wil. {laughing). Of course not! I was just turning 
tables. I found this slip of paper on the table. You 
told Claudia there was an audience under the sofa and to 
act as if the situation was desperate, so I knew it was a 
joke of some kind. 

Jos. Then I will tell you. It means — it means that 
you have both pa'ssed a test and you are the very newest 
members of the Red Hearts. 

(Irene and Mar. open the double doors, revealing a 
table set for a supper — red decorations, candles with 



THE HOUSE IN LAUREL LANE 25 

red shades, a group of girls around the table in red 
costumes, Claud, at the head of the table. Wil. 
and Anice gasp and the girls all laugh and applaud.) 

WiL. Well— what 

Anice. But — and — gracious ! I do feel faint now. 

Claud, {coming forivard). It's Anice, isn't it? And 
Billy ! I guessed as much. 

Anice. And this was all planned? 

Mar. Every bit of it. Miss Arnold's idea. I'll ad- 
mit I didn't have much faith, but I take off my hat to 
every one now. 

Irene. I take mine off to the candidates. No one has 
ever stood a harder test than they have. 

WiL. Well, I'm absolutely speechless. 

Claud, (to Wil.). We didn't expect to catch you in 
the same trap with Anice. She unconsciously saved me 
a lot of trouble. Your name was next to hers and I was 
to plan your test. 

Anice. And you knew what was going on all the 
time? 

Claud. No, I didn't. Only just a' very little. That 
is one of the most fascinating things about the Red 
Hearts. We always answer a summons from a member 
and follow directions without knowing what the idea is 
or which candidate is being tried. 

Jos. To be a Red Heart you must prove yourself 
brave, loyal to the school and true to your friends. You 
have answered our call and we welcome you to our midst. 
(The girls all come forward and shake hands with Anice 
and Wil. ) And now let the band play ! 

(A program of songs, dances, recitations and so forth 
is introduced. At the close the girls lead Anice and 
Wil. to the table and drink a toast to them as the 
curtain falls.) 



CURTAIN 



THE TLME OF HIS LIFE 

A Comedy in Three Acts by C. Leona Dalrymple. Six males, three 
females. Costumes, modern ; scenery, two interiors, or can be played in 
one. Plays two hours and a half. A side-splitting piece, full of action 
and a sure success if competently acted. Tom Carter's little joke of im- 
personating the colored butler has une.xpected consequences that give him 
'• the time of his life." Very highly recommended for high school per- 
formance. Price, 2j cents 

THE COLLEGE CHAP 

A Comedy Drama in Three Acts by Harry L. Newton and John 
Pierre Roche. Eleven males, seven females. Costumes, modern ; scenery, 
two interiors. Plays two and a half hours. An admirable play for ama- 
teurs. Absolutely American in spirit and up to date; full of sympathetic 
interest but plenty of comedy ; lots of healthy sentiment, but nothing 
« mushy." Just the thing for high schools ; sane, eflective, and not dif- 
ficult. Price, 2^ cents 

THE DEACON'S SECOND WIFE 

A Comedy in Tliree Acts by Allan Abbott. Six males, six females. 
Costumes, modern ; scenery, one interior, one exterior. Plays two houn 
and a half. A play of rural life specially written for school performance 
All the parts are good and of nearly equal opportunity, and the piece is full 
of laughs. Easy to produce ; no awkward sentimental scenes ; can b& 
strongly recommended for high schools. Price, 2^ cents 

THE TEASER 

A Rural Comedy in Three Acts by Charles S. Allen. Four male, three 
female characters. Scene, an easy interior, the same for all three acts ; 
costumes, modern. Plays an hour and a half. An admirable play for 
amateurs, very easy to get up, and very effective. Uraliah Higgins, a 
country postman, and Drusilla Todd are ca]5ital comedy parts, introducing 
songs or specialties, if desired. Plenty of incidental fun. 
Price, 25 cents 

COUNTRY FOLKS 

A Comedy Drama in Three Acts by Anthony E. Wills. Six males, five 
females. Costumes, modern; scenery, one interior. Plays two and a 
quarter hours. An effective and up-to-date play well suited for amateur 
performance. All the parts good and fairly even in point of opportunity ; 
the ladies' parts especially so. Easy to stage, and well suited for schools. 
Well recommended. Price, 2^ cents 

THE MISHAPS OF MINERVA 

A Farce in Two Acts by Bertha Currier Porter. Five males, eight fe- 
males. Costumes, modern; scene, an interior. Plays one and a haH 
hours. An exceptionally bright and amusing little play of high class and 
recommended to all classes of amateur players. Full of action an<J 
laughs, but refined. Irish low comedy part. Strongly endorsed 
Price, 2S cents 



WILLOWDALE 

A Play in Three Acts by Arthur Lewis Tubbs. Seven males, five tt 

males. Scenery, two easy interiors ; costumes, modern. This is a play vl 
exceptional interest and power. Admirably suited tor amateur perform' 
ance, all the parts being good. Godfrey is an admirable heavy part, Joe^ 
Lem and Simon capital character parts, Mis' Hazey a novel eccentric bit, 
and Oleander a part of screaming comedy. Plays two hours and a quarter. 
Price, 2^ cents 

THE VILLAGE SCHOOL MA'AM 

A Play in Three Acts by Arthur Lewis Tubbs. Six males, five females 
Costumes, modern ; scenes, an interior and an exterior, or can be played in 
two interiors. Plays two hours or more. Combines a strong sympathetic 
interest with an abundance of comedy. The parts are unusually equal in 
opportunity, are vigorously drawn and easily actable. No dialect parts 
but plenty of variety in the comedy roles and lots of amusing incident 
Can be strongly recommended. Price, 2^ cents 

BAR HAVEN 

A Comedy in Three Acts by Gordan V. May Six males, five females 
Costumes, modern ; scenery, two interiors and an exterior, not difficult 
Plays two hours. An excellent piece, mingling a strongly serious interesl 
witlr abundant humor. Offers a great variety of good parts of nearly 
equal opportunity. Admirably suited for amateur performance, andi 
strongly recommended. Price, 2^ cents 

DOWN IN MAINE 

A Drama in Four Acts by Charles Townsend. Eight male, four female 
characters. This play has no villains, no tangled plot nor sentimental 
love scenes; yet the climaxes are strong, the action brisk, and the humor 
genial, and the characters strongly drawn. Can be played in any hall ; 
scenery, of the easiest sort. Properties, few and simple ; costumes, 
modern. Plays a full evening. Strongly recommended. Price, 2^ centi 

HIGBEE OF HARVARD 

A Comedy Drama in Three Acts by Charles Townsend. Five males, 
four females. Modern costumes ; scenes, two interiors and an exterior — 
ibe latter may be played as well in an interior, if preferred. Plays a full 
evening. A clever, up-to-date piece, well suited for amateur performance. 
No small parts ; all good. Good plot, full of incident, no love-making, 
interest strong and sustained. Price, /j cents 

HOW JIM MADE GOOD 

A Comedy Drama in Four Acts by Charles S. Bird. Seven males, 
three females ; two male parts can be doubled. Costumes, modern j 
scenery, three interiors. Plays two hours. An unusually sympathetic 
play, vsrell suited to amateurs. Clean and easy to get up. Recommeude<? 
to high schools. All tiie parts are good Price, ^f cents 






Plays and Novelties That Have Been " Winners 



The Americana 

Anita's Trial 

Art Clubs are Trumps 

Behind the Scenes 

The Camp Fire Qirls 

A Case for Sherlock Holmes 

The Farmerette 

Getting the Range 

Her First Assignment 

Hitty's Service Flag 

Joint Owners in Spain 

A King's Daughter 

The Knitting Club Meets 

A Lady to Call 

Leave it to Polly 

The Minute Man 

Miss Fearless & Co. 

A Modern Cinderella 

Moth- Balls 

Rebecca's Triumph 
The Thirteenth Star 

Twelve Old Maids 

An Awkward Squad 8 

The Blow- Up of Algernon Blow 8 
The Boy Scouts 20 

A Close Shave 6 

The First National Boot 7 

A Half- Back's interference 10 

His Father's Son 14 

The Man With the Nose 8 

On the Quiet 12 

The People's Money 11 

A Regular Rah I Rah I Boy 14 

A Regular Scream 11 

Schmerecase In School 9 

The Scoutmaster 10 

The Tramps' Convention 17 

The Turn in the Road 9 

Wanted— A Pitcher 11 

What They Did for Jenkins 14 

Aunt Jerusha's Quilting Party 4 
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Corners 12 17 

The Emigrants' Party 24 10 

Miss Prim's Kindergarten 10 1 1 

A Pageant of History Any number 

The Revel of the Year 
Scenes in the Union Depot " " 

Taking the Census In Bingville 14 S 
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Women in War 1 1 , 



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25c 


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15c 


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25c 


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lU 


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25c 


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25c 


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25c 


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15c 


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2SC 

25c 
25c 

ISC 

25c 
25c 

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15c 



BAKER, 5 Hamilton Place, Boston, Mass. 



LIBRftRY OF CONGRESS 



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\ 


MHin 

015 873 255 5 


< Plays for Colleges 

m Males 

2 The Air Spy 12 


and H 

Females 
4 I 


>2 


tirs. 


25c 


Special 


1 Bachelor Hall 


8 


4 2 




« 


25c 


^5.00 
Free 


4 The College Chap 


II 


7 2 


;^ 


« 


25c 


J The Coloael's Maid 


6 


3 2 




" 


25c 


«» 


2 Daddy 


4 


4 I 


>^ 


« 


25c 


«' 


<B The Deacon's Second Wile 


6 


6 2 


y2 


" 


25c 


« 


J The District Attorney 


10 


6 2 




" 


25c 


M 


J The Dutch Detective 


5 


5 2 




*« 


25c 


M 


4 An Easy Mark 


5 


2 


'A 


M 


15c 


M 


J The Elopement of Ellen 


4 


3 2 




" 


25c 


« 


3 Engaged by Wednesday 


5 


II I 


'A 


M 


25c 


M 


«i The Farmerette 




7 2 




" 


25c 


« 


j For One Night Only 


5 


4 2 




" 


15c 


" 


Z Hamilton 


II 


5 2 




M 


Soc 


Special 


4 HIgbee of Harvard 


5 


4 2 




" 


15c 


Free 


M HItty's Service Flag 




II 1 


% 


" 


25c 


« 


Z The Hoodoo 


6 


12 2 




«• 


25c 


« 


4 The Hurdy Ourdy Old 


9 


9 2 




« 


25c 


«« 


M Katy Did 


4 


8 I 


% 


" 


25c 


" 


3 Let's Get Married 


3 


5 2 




« 


soc 


Special 


4 London Assurance 


10 


3 2 




«« 


15c 


Free 


£ Lost a Chaperon 


6 


9 2 




" 


25c 


" 


j] The Man from Brandon 


3 


4 


% 


«« 


15c 


" 


4 The Man Who Went 


7 


3 2 


% 


" 


25c 


Special 


jj The Man Without a Coumry 


46 


5 I 


A 


" 


25c 


Free 


2 Master Pierre Patella 


4 




y^ 


" 


50c 


" 


4 Me and Otis 


5 


4 2 




« 


*5c 


" 


i The Minute Man 




13 I 


A 


" 


25c 


« 


J Mose 


II 


10 I 


% 


" 


»5c 


" 


4 Mr. Bob 


3 


4 I 


y2 


" 


»5c 


" 


i Mrs. Briggs of the Poultry Yafd 


4 


7 2 




« 


25c 


" 


a Nathan Hale 


IS 


4 2 


A 


" 


50c 


$\O.QO 


4 Nephew or Uncle 


8 


3 2 




« 


250 


Free 


M Professor Pepp 


8 


8 2 


y 


" 


25c 


" 


3 A Regiment of Two 


6 


4 2 




" 


25c 


« 


4 The Revenge of Sharl-Hot-Su 


3 


4 I 


y 


" 


15c 


» 


£ The Rivals 


9 


5 2 


y 


«« 


15c 


«< 


3 The Romancers 


J 


I 2 




«• 


25c 


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4 The Rose and the Ring 


16 


5 ' 


'A 


«« 


25c 


" 


|M Sally Lunn 


3 


4 ' 


y 


" 


25c 


" 


2 The School for Scandal 


12 


4 2 


% 


«' 


15c 


*« 


4 She Stoops to Conquer 


15 


4 2>^ 


" 


»5c 


« 


£ Step Lively 


4 


10 2 




" 


25c 


" 


3 The Submarine Shell 


7 


4 2 




«« 


25c 


Special 


4 The Thirteenth Star 




9 I 


y 


" 


25c 


Free 


i The Time of His Life 


6 


3 2 


y 


" 


25c 


« 


3 Tommy's Wife 


3 


5 I 


y 


" 


25c 


" 


4 The Twig of Thorn 


6 


7 I 


Yt. 


" 


60c 


" 



For " special " royalties, see catalogue descriptions for 
detailed information. 

BAKER, 5 Hamilton Place, Boston, Mass. 



015 873 255 5 



